Typografisk visualitet som del af skopiske regimer - Akademisk ...

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n How can typographic visuality be said to be a part of the scopic regimes of cultural history ? An examination divided into two parts focusing respectively on the early printed typographic book and on current web-typography. | typographic visuality as a part of scopic regimes Abstract Vision is not the individual‘s free approach to perception of a contextual culture; instead the way the visual presents itself is an ordered reality—it is visuality. And that is the premise on which typography in this context is a typographic image consisting of different graphic micro- and macro-levels. This visuality is both real and virtual (An A can also be A, A etc.). Furthermore, individuals prefer to ‘objectively’ valorize the configurations of visualities or to dissociate from them. Based on the fundamentals of discourse theory (without making it a strict approach), each individual is a subject to larger or smaller institutions of appropriated truths. By making meaning with visualities as artifacts dependent on subtle discourses governing what is to be seen as good, accepted, bad, etc. The visual cultures thus operate within distinct configurations of contextual, social and cultural grids, which are called types of scopic regimes. In part one it is shown how in the late 1400 the printing with antiqua-type was created as an italian humanistic and idealistic approach to staging classic works as part of a ‘renaissance.’ Typographic micro- and macro-visuality is also shown to be a part of a hegemonic scopic regime, in which a feudal and ecclesiastical validated propor- tional order governed a ‘truth’ of a harmonic, natural society. With focus on web-typography, part two shows that modern typographic visuality is a part of many different, heterogeneous scopic regimes. An introducing brief survey examines typography and scopic regimes in a range of historical contexts (1400–p.t.). Contemporary cultural theories are related to scopic grids as models for understanding the late modernity and its cultural fields in flux. Generally, part two examines the contemporary life of the network society as both real and virtual ways of typographically per- forming identity, and of making meaning in cross-cultural grids in on-/offline scopic regimes. | david engelby | thesis | visual culture studies | university of copenhagen | summer 2008
| typografiSK viSualitet Som del af SKopiSKe regimer | 1 Indhold Indledning 4 Baggrund 4 Problemformulering 4 Introduktion 6 Indledende bemærKning 6 Typografi Som viSuel Kultur 6 Begrebet typografi 6 Det typografiske billede 7 Familiarisering og defamiliarisering 9 KulturhiStorien og denS SKopiSKe regimer 10 Diskursivitet og visuel orden 10 Skopiske regimer og typografisk visualitet i kulturel kontekst 12 Typografisk materialitet 14 Opsummering af hovedpointer 15 Dispositionen af herværende opgave 15 Del I 15 Del II 15 DEL I Skopiske regimer og den klassiske typografi 16 Det analoge SKrift-viSuelle materiale 16 Introduktion til den tidlige antiquaskrift og den typografiske bog 16 Antiquaskriftens form 18 AntiquaSKriften og den typografiSKe bog Som del af et SKopiSK regime (ca. 1440–1500) 21 Renæssancen som konstruktion 21 ‚Quattrocento-man‘ 23 Konkluderende definition på det skopiske regime i 1400-tallets italienske renæssance 25 | david engelby | Speciale | viSuel Kultur | SommereKSamen 2008 | Kua
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